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Introduction about gender roles
Introduction on gender roles
Introduction on gender roles
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Survey Paper #2 The marriages within the plays Who’s Afraid of Virginia Woolf and A Streetcar Named Desire there are many indicators that their marriages were not healthy as well as gender roles that are not fulfilled based on traditional gender roles. Stella and Stanley as well as Martha and George are constantly arguing and fighting trying to gain more power over the other and trying to get their way by throwing temper tantrums. Throughout A Streetcar Named Desire we see examples of traditional gender roles with Stella and Stanley. Some of the most basic traditional gender roles that are most well-known for example is where women stay at home while the men do all of the breadwinning. The women are also supposed to be the gentle, emotional, …show more content…
George and Martha do not have a particularly tradition relationship by definition of gender roles. Martha does not fit the traditional gender role because she is not the “house keeper”, and throughout the show we see that George does serve Martha instead of the other way around. She does fit within the traditional gender role of females because she isn’t the breadwinner but she does seem to be the boss. She and George have this eternal power struggle going on between them, constantly going back and forth about who gets to tell certain details and who gets to choose what to do. George doesn’t fit the traditional gender roles either, he acts more within the female parameters by being the one to take care of the house and is the one that submits instead of Martha. He does fit into a small portion of the traditional gender roles by being the breadwinner of the house as well as attempting to be the head of the …show more content…
They argue as a way to try and gain more power than the other, the biggest thing that changes the balance of power is their “son.” Their son is only a figment of their imagination, they made him up because they could not have of their own, and it’s why they argue about what he is like. GEORGE. Martha’s lying. I want you to know that, right now. Martha’s lying. There are very few things that I’m certain of anymore. But the one thing. The one thing in this whole sinking world that I am sure of is my partnership in the creation of our blond-eyed blue haired son. MARTHA. Our son does not have blue hair, or blue eyes, for that matter. He has green eyes like me. Such beautiful, beautiful green
In Tennessee Williams' play, A Streetcar Named Desire, Williams uses the suicide of Blanche's husband to illuminate Blanche's insecurities and immoral behavior. When something terrible happens to someone, it often reveals who he or she truly is. Blanche falls victim to this behavior, and she fails to face her demons. This displays how the play links a character’s illogical choices and their inner struggles.
Gender institutions is defined as “the total patterns of gender relations that structure social institutions, including the stereotypical expectations, interpersonal relationships, and the different placement of men and women that are found in institutions”( Andersen). Bud (David as a Pleasantville civilian), has a relationship with a girl named Margaret in Pleasantville. Margaret is the stereotypical innocent girl-next-door. She bakes Bud cookies to show her interest in him in the beginning of the movie, which is a typical girly action for a young girl in the fifties. The most clearly depicted example of gender institutions is the family life that all the families live in Pleasantville. The parents are the classic fifties mom and dad where the dad comes home from work expecting his made-up wife and cheerful children to welcome him at the door with a hug and kiss as well as dinner waiting on the table. One night when the father, George Parker, comes home from work to an empty house and no dinner prepared for him, he does not know what to do with himself. He calls throughout the house “Honey, I’m home! Where is my dinner?” And he gets no response (Pleasantville). After realizing no one was going to respond and there was no dinner prepared for him, he immediately goes to the bowling ally to meet up with his guy friends to discuss with them the problems he is facing at home with his wife. Again, the guys meet at a bowling ally, which would more likely be a place for men to hang out at rather than
The plays, A Streetcar Named Desire and A View from the Bridge, focus on the theme of domination of the female characters through the writer’s habit of literacy techniques such as imagery and realism to add the typical tragedy that follows in both plays – where the main character dies at the end and each playwright uses their own method to manipulate their point of view or opinion of the play’s plot to the audience members.
During early times men were regarded as superior to women. In Tennessee William’s play, “A Streetcar Named Desire”, Stanley Kowalski, the work’s imposing antagonist, thrives on power. He embodies the traits found in a world of old fashioned ideals where men were meant to be dominant figures. This is evident in Stanley’s relationship with Stella, his behavior towards Blanche, and his attitude towards women in general. He enjoys judging women and playing with their feelings as well.
Within Tennessee Williams's story about love and abuse within marriage and challenging familial ties, there lie three very different characters that all see the world in vastly different ways. These members of a family that operate completely outside of our generation’s norms, are constantly unsure of themselves and their station within the binary not only of their familial unit, but within the gender binary that is established for them to follow. Throughout the story of the strange family, each character goes through a different arch that changes them irrevocably whether it is able to be perceived or not by those around them. The only male, Stanley is initially the macho force in the home who controls everything without question. He has no consequences for his actions against his wife and is never held accountable for treating the people around him poorly; this lasts until Blanche arrives. Blanche is an outwardly demure, but spirited young woman who after experiencing untold misfortune breaks mentally and decides to no longer care what others may think of her. She lives her life lavishly and foolishly by having dalliances with younger or richer men who shower her with gifts and attention to get sex from her all too willing form. Her effect on Stanley is one of temptation and challenge; she continually tries to convince her sister that she is too good for the man and in turn fosters a resentment for her in him. Stella acts as the antithesis of Stanley and Blanche’s extreme personalities. She is innocence and purity where they are the darkness that threatens to overtake her life. Throughout, Stella is a pawn that they both try to use against the other to no real avail as she is determined to make the best choice for herself. In th...
Tennessee Williams gives insight into three ordinary lives in his play, “A Streetcar Named Desire” which is set in the mid-1930’s in New Orleans. The main characters in the play are Blanche, Stanley, and Stella. All three of these characters suffer from personalities that differentiate each of them to great extremes. Because of these dramatic contrarieties in attitudes, there are mounting conflicts between the characters throughout the play. The principal conflict lies between Blanche and Stanley, due to their conflicting ideals of happiness and the way things “ought to be”.
Tennessee Williams has said, “We have to distrust each other. It is our only defense against betrayal.” Betrayal is prevalent in life and literature and creates uncertainty. According to Williams, without questioning people, one will eventually be betrayed. Characters deceive each other and, occasionally, themselves as they try to mend their lives. In A Streetcar Named Desire by Tennessee Williams, betrayal is evident in every relationship — Blanche and Mitch, Blanche and Stella, and Blanche and Stanley — and contributes to the theme of uncertainty in the novel. Blanche Dubois is the ultimate example of betrayal because she ends up being betrayed and betraying others throughout the play, which serves as a basic model of the effects betrayal can have on a person.
There is a power struggle between Martha and George at all moments of their interaction. The fictional illusions they have created for other people to believe they are the perfect couple, is only to mask the discontent they have in their relationship. Each one of them wants to be the most powerful, to have the upper hand in the relationship. Both Martha and George seem to be afraid to communicate with each other in a sincere way. It is easier to be mean and hide their true feelings. Drinking heavily every day is their way of masking their true emotions from one another and from them selves. Martha is always ordering George around, to get her another drink, answer the door, pocking fun at the job George has and how Martha "wears the pants...
In Tennessee Williams play "A Streetcar Named Desire" two of the main characters Stanley and Blanche persistently oppose each other, their differences eventually spiral into Stanley's rape of Stella.
A Streetcar Named Desire is an intricate web of complex themes and conflicted characters. Set in the pivotal years immediately following World War II, Tennessee Williams infuses Blanche and Stanley with the symbols of opposing class and differing attitudes towards sex and love, then steps back as the power struggle between them ensues. Yet there are no clear cut lines of good vs. evil, no character is neither completely good nor bad, because the main characters, (especially Blanche), are so torn by conflicting and contradictory desires and needs. As such, the play has no clear victor, everyone loses something, and this fact is what gives the play its tragic cast. In a larger sense, Blanche and Stanley, individual characters as well as symbols for opposing classes, historical periods, and ways of life, struggle and find a new balance of power, not because of ideological rights and wrongs, but as a matter of historical inevitability. Interestingly, Williams finalizes the resolution of this struggle on the most base level possible. In Scene Ten, Stanley subdues Blanche, and all that she stands for, in the same way men have been subduing women for centuries. Yet, though shocking, this is not out of keeping with the themes of the play for, in all matters of power, force is its ultimate manifestation. And Blanche is not completely unwilling, she has her own desires that draw her to Stanley, like a moth to the light, a light she avoids, even hates, yet yearns for.
As women's studies programs have proliferated throughout American universities, feminist "re-readings" of certain classic authors have provided us with the most nonsensical interpretations of these authors' texts. A case in point is that of Kathleen Margaret Lant's interpretation of Tennessee Williams' A Streetcar Named Desire in her essay entitled "A Streetcar Named Misogyny." Throughout the essay, she continually misreads Williams' intention, which of course causes her to misunderstand the play itself. Claiming that the play "has proved vexing to audiences, directors, actors, readers, and critics" (Lant 227), she fails to see that it is she herself who finds the play vexing, because it does not fit nicely into the warped feminist structure she would try to impose upon it.
Relationships in A Streetcar Named Desire In many modern day relationships between a man and a woman, there is usually a controlling figure that is dominant over the other. It may be women over men, men over women, or in what the true definition of a marriage is an equal partnership. In the play A Streetcar Named Desire by Tennessee Williams, Stanley is clearly the more dominant figure over Stella.
George’s relationship with Lennie has made him selfless; his conversations, with and with out Lennie, are generally revolving around Lennie, although in the case of their dream-ranch George seems to find fulfilment for himself as well. Due to these altruistic tendencies that he shows throughout the novel, a danger is bestowed upon George; he tends to care for Lennie far too much, and too little for himself. In occasional moments, he escapes his sympathy and compassion for Lennie, and realises the burden that he causes. This usually results in George taking his frustration out on Lennie, which can often harm his simple mind, leaving Lennie upset and forced to confess to his own uselessness, and George feeling guilty for what he has caused. We can learn very little about George through his actual conversations, which made it necessary for Steinbeck to focus the novel on him in particular, and let the reader gain an closer insight on him through his actions. Generally, he seems to be caring, intelligent and sensible, but is greatly worn by the constant attention Lennie requires. This illustrates a major theme in Of Mice and Men, the dangers that arise when one becomes involved in a dedicated relationship.
In the play, A Streetcar Named Desire by Tennessee Williams, a main theme was domestic violence and how women were not respected before the 1970’s. Beating your wife was considered “family matters” and many people ignored this huge issue. Women were supposed to take care of the situation by themselves or ignore it. Ruby Cohn argues that Stanley is the “protector of the family” and that his cruelest gesture in the play is “to tear the paper lantern off the light bulb” (Bloom 15). Even though critics tend to ignore the ongoing domestic violence occurring in the play, it is a huge issue that even the characters in the play choose to ignore. This issue does not surface because of the arrival of Blanche and her lunacy. While the audience concentrates on Blanche’s crumbling sanity, it virtually ignores Stanley's violence.
After Stella seeks refuge in her neighbour’s house following an assault, Stanley attempts to call Stella back to their home but Eunice interjects saying ‘You can’t beat a woman an’ then call ‘er back! She won’t come!’ This view of how a woman should act when asked something by her husband in Streetcar contrasts to that in Othello. In Othello women can be told where to go by their husbands and their actions will be supported by their peers, but in Streetcar Stella sees no issue in leaving Stanley and her disobedience of her husband is actively supported by both Eunice and Blanche. This is certainly a produce of the time period in which either play was written. However, no character in Streetcar agrees with Emilia’s sentiment that the proper thing to do would be for Stella to obey her husband. This difference in both plays demonstrates one of the key differences in the societies being presented to us – women have more independence. This is a direct result of 1st wave feminism, which occurred in between the times in which these texts were written. In William’s time, women now had the ability to vote, and were seen less like possessions. However, they were still expected to be obedient to the men in their lives in a very similar way to the 17th Century. Therefore, as a reader looking back on these texts in the 21st Century, we view the women as being oppressed, and the difference